REVIEWS

2016 PRODUCTION

 

The New England Theatre Geek, 22 September 2016, Kitty Drexel

 

"... a multimedia opera ripe with intimate oddity.

 

... a strange but moderately elegant little beastie... also an unexpected laugh riot... his characters are dealing out Trumpian levels of logic convolution to an not entirely innocent audience. It’s a timely production ready to push buttons."

 

http://www.netheatregeek.com/2016/09/21/succeed-at-all-costs-loose-wet-perforated/

 

 

Boston Classical Review, 22 September 2016, Aaron Keebaugh

 

No work stands out quite like Nicholas P. Vines’ Loose, Wet, Perforated... Eerie, dark, and thoughtful, Vines’ work made for an experience unlike any other.

 

... The story, part comedy and part tragedy, poses difficult philosophical questions that are relevant today...

 

Vines’ colorful music fills the grim story with a sense of unease... conveying the same sort of haunting unfamiliarity one encounters in the music of Harrison Birtwistle."

 

http://bostonclassicalreview.com/2016/09/guerilla-opera-revives-vines-dark-thoughtful-morality-play/

 

 

The Boston Musical Intelligencer, 26 September 2016, Steven Ledbetter

 

Guerilla's Modern Morality Play Triumphs... as a theater piece, it “went,” holding our attention throughout."

 

http://www.classical-scene.com/2016/09/26/guerillas-perforated/

 

 

 

2011 PRODUCTION

 

The Boston Phoenix, 20 September 2011, Lloyd Schwartz

 

“ … Nicholas Vines is a compellingly original composer, and his new Loose, Wet, Perforated…is full of fascinating music. An eerie prelude and two extended interludes… both grabbed and held my attention with their smooth, slippery seductiveness and surprising but well-timed percussive punctuation. I could never predict what I'd hear next…”

 

 

NewMusicBox, 28 September 2011, Matthew Guerrieri

 

“ … The plot seemed to want to channel the genre’s capacity for moral scolding while satirizing it at the same time. ..”

 

“… The music… was terrific—kitchen-sink expressionism, edgy, bright, and entertaining as hell. Vines makes an unlikely four-player orchestra—clarinet, saxophone, trombone, and percussion—pay seemingly endless dividends. .. it certainly carried the listener through… in cracking style.”

 

http://www.newmusicbox.org/articles/new-englands-prospect-looking-backward/

 

 

The Tufts Daily, 6 October 2011, Zoey Turek

 

“… Loose, Wet, Perforated breaks barriers as modern morality play…”

 

“ … [Loose, Wet, Perforated] does a surprisingly good job of accurately mirroring America’s current socio-political atmosphere without making the comparisons feel heavy-handed… a tongue-in-cheek representation of capitalism…”

 

“… the musicians use composer Nicholas Vines’s inventive score to far exceed the traditional confines of their instruments. The music is so unusual that at times it is difficult to determine whether a sound was being made by a voice or an instrument, which lends an eerie quality to the chaotic albeit melodious score…”

 

“… the ambiguity of the characters’ genders forces the audience to drop all pre-conceived notions of gender roles and sexual constructs…”

 

“ … [Loose, Wet, Perforated] comes highly recommended to all lovers of modern opera.”

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